22:11 - Hex_Omegaflight, change your title from 'Stamp Tramp' to 'Master Of The Lists'. 15 lists in 4 months, lol

22:02 - mzyeah Neachy. I've been so out of the metal globe for 2.5 months and have checked only 4 albums: Eerie( 2014), that black metal album with red cover form Iceland, desolate shrine and Abyssal Gods. All of them are very good :D

01. Remnants Of The Tortured02. A Massacre In The North03. Letting Them Fall04. A Burial For The Abandoned05. Lack Of Oxygen06. Wormhole Inversion07. The Anomalies Of Artificial Origin08. The Last Communion

Assuming the majority of users here were unaware of In the End of Human Existence being released back in 2007, I'm going to tell you right now that this album is hands-down the top slam death album of the year. I'll be mighty surprised if this opinion changes come January 2013.

For those who aren't unfamiliar with Abominable Putridity, all you need to know is that their sophomore release is quite literally stronger in every aspect: groove, technicality, brutality, flow, clarity, and songwriting prowess. Far be it from me to say these guys are the Tool of brutal death metal, but their overall abilities have improved immensely, surpassing their peers with a vulgar display of power.

The Anomalies of Artificial Origin takes off with an eerie intro, paving the way for a conceptually charged mindless assault of every orifice of the human body. Crushing bass lines lend their support to the ultimately over-the-top chugging riffs, giving the album a very immense feel, as if the music itself is a weapon of mass destruction. This is all topped off with some more technical riffs that appear in shorter spurts, injecting a quick dose of creativity into the songs.

Of course, Abominable Putridity aren't Abominable Putridity without the thick crushing slam riffs. This is where they really stand out from the rest of the pack - not so much in that they don't simply rely on slams as opposed to chugging riffs, but that their slams add a serious weight to their music. You can feel each chug build up to a slam breakdown, with every minute passing by increasing your anticipation. In spite of being able to sense the oncoming slams, they're still rather unexpected - a very welcome change in songwriting according to this reviewer. Previously these guys got into a habit of incorporating too many breakdowns, and the only surprise factor was in regards to how lacking each song was in the riff department.

Naturally, the inhuman guttural vocals are what will separate the fans from the haters. Their former vocalist had a much deeper, more beastly growl, whereas Matti Way (of Disgorge and Pathology fame) brings a somewhat higher pitch to the table in addition to his already immense gutturals. His rhythmic style suits the music perfectly, mixed appropriately lower while enhancing the catchy grooves. The drumming is fairly standard for the music style, maintaining the album's overall flow with a steadily faster pace without breaking into any unnecessarily overly technical or hypersonic moments.

If you appreciate slam death and want to listen to the genre's best release of the year, look no further than The Anomalies of Artificial Origin.

Certainly among my favorite slam albums. The drumming, in particular is fantastic and well-produced/mixed. The kick-drum sound is what they're supposed to sound like. While I don't think this is the best, it's among my top 10 in the genre easily. A great album and they are undoubtedly one of the premier front-runners in slam/BDM right now. This album sets the bar very high though they're not without some quality peers.

Written by Misfit74 on 10.06.2012 at 02:37Certainly among my favorite slam albums. The drumming, in particular is fantastic and well-produced/mixed. The kick-drum sound is what they're supposed to sound like. While I don't think this is the best, it's among my top 10 in the genre easily.

It's amazing how quick this album came to the forefront of slam for this year and how high up on my personal list this sits in terms of all-time slam releases. I really wasn't expecting such an immense album after listening to their debut a couple years back. Definitely pleasantly surprised with this.

Written by Misfit74 on 10.06.2012 at 02:37Certainly among my favorite slam albums. The drumming, in particular is fantastic and well-produced/mixed. The kick-drum sound is what they're supposed to sound like. While I don't think this is the best, it's among my top 10 in the genre easily.

It's amazing how quick this album came to the forefront of slam for this year and how high up on my personal list this sits in terms of all-time slam releases. I really wasn't expecting such an immense album after listening to their debut a couple years back. Definitely pleasantly surprised with this.

I seemed to be in the minority in my support for the album. Glad to see a review (and discussion) like this to help bring a quality album to light that might otherwise get buried around here. I think a lot of folks might not know what they're missing. As has been said: it just doesn't get much more hi-quality than this for the genre.

I decided to listen to this particular Slam band based on this review Troy because you make it sound like it's actually really awesome. This is the only Slam band I've heard so far that I could maybe actually get into, the music itself is pretty fuckin' sick but I'm still struggling with the vocals. Maybe I'll dl this anyway and give it a shot outside of a "YouTube background noise" listen...

Written by psykometal on 10.06.2012 at 07:48I decided to listen to this particular Slam band based on this review Troy because you make it sound like it's actually really awesome. This is the only Slam band I've heard so far that I could maybe actually get into, the music itself is pretty fuckin' sick but I'm still struggling with the vocals. Maybe I'll dl this anyway and give it a shot outside of a "YouTube background noise" listen...

It really is a fun listen, something that doesn't require much effort beyond being able to accept the vocals, which after a full listen should be an easy hurdle to clear in my opinion, especially considering you listen to a lot of death metal. Besides, the riffs and slams are good enough to distract you from the vocals if you really can't digest them.

It really is a fun listen, something that doesn't require much effort beyond being able to accept the vocals, which after a full listen should be an easy hurdle to clear in my opinion, especially considering you listen to a lot of death metal. Besides, the riffs and slams are good enough to distract you from the vocals if you really can't digest them.

Yea I was feeling a bit pirate-y a moment ago and dl'd it, I'm checking it out now. The music is extremely close to BDM territory for a Slam band which is really sick. I do listen to a lot of Death metal but honestly BDM is a more recent taste acquisition in the last year, used to not care for it much but last year a buddy got me into a TDM phase and then started getting me to listen to some BDM bands that get rather close to TDM territory like recent Dying Fetus, Severed Savior and Insidious Decrepency to name a few and I then I got really into BDM after that.

I'm on the 3rd track of AP and it's really good shit, starting to acclimate to the vocals, not sure I'll ever fully get behind the vocals due unintelligibility but I may be able to just look past them for the music's sake; at least in the case of Abominable Putridity. And it's weird because I can handle Matti's vocals in AP but still don't care for them in Pathology, maybe it's because the music in Pathology isn't good enough for me to get over the vocals or maybe in the last few years Matti has just gotten a little better at doing them...

Add-on: In either case I probably would have never checked this band out if not for your review so thanks for that Troy. Definitely should do more DM/BDM reviews for us...

Weirdly enough I like this album a lot. I normally hate slam and have a distaste for BDM as well unless it's in the technical territory but this is really awesome for some reason. I don't even mind the vocals, maybe due to the higher than usual pitch.

I'm seeing a lot more death metal album covers oriented towards the giant otherworldly monsters breaking through/out (in a tutu) i.e. Spawn of Possession, Hour of Penance, Pseudogod. Perhaps a majorities prevailing spirit under oppression, ready to break out!?. Maybe they just thought it looked like it would fuck a lot of shit up.

Ok so I've listened to this album closely for several spins now and I'm hooked, it's fucking brutal and sick as hell! I am learning to appreciate the vocals, still not a Slam head but if there are more Slam bands out there like this where the music is closer to BDM than straight Slam and I can at least somewhat tell that there are words coming out of the vocalist's mouth and not just a bunch of "GRRRR GRRRR GRRRR" then I would definitely be interested to check them out. Abominable Putridity has definitely earned their place on my iPod...

This is one of the cases where the vocals are just another instrument that makes sounds to complete the whole picture, like old Cryptopsy for example.

Oh I have always considered vocals as another instrument, sometimes they happen to carry a message and sometimes they're merely just another instrument in the song; that's why I can justify and enjoy listening to so much blasphemous black and death metal despite being a christian. But like any instrument it still needs to be done in a pleasing manner and I like hearing the variation in the different words whether I know what the words are or not. Anybody can pick up an instrument and "play" away but that doesn't mean it's going to sound good or appealing, and the vast majority of the really deep gutteral slam vocals don't sound appealing to me even when considered as merely another instrument; doesn't help much either that I generally don't care for the music and production of the vast majority of slam bands. That's why I actuallyI love Abominable Putridity so much because the music is closer to brutal than to slam and the vocals are "articulated" well enough in their deep, low range that they do work well with the rest of the instruments...

Idgaf what anyone says this album is a goddamn masterpiece. I'm an enormous brutal fan and I appreciate every sound the extremes have to offer, from your average slam to the blast and beyond porngrind, but this album just fucking delivers. There isn't one dull moment throughout and I can't find the time to tire myself with listening to it. "A Burial For The Abandoned" in particular is competely orgasmic. Maybe I'm going a little over the top with my comment here but quite honestly there isn't much else that measures up to this as a brutal fan. And Matti Way, muah.. His vocals are nearly poetic they flow so beautifully. I thought I'd miss Vlad but I should have known better Matti is not one to dissapoint. MASSIVE album guys, congrats.

I must be a noob cause I've never heard the term "Slam Riff"' and I play guitar. I also don't hear the higher pitch from the vocalist so their former singer must have been extremely gutteral. I agree with you on the prodution, it is terrific.

The breakdowns themselves aren't entirely different - for the most part I'd say slam breakdowns are more... "chunky", whereas deathcore breakdowns tend to be sound a little lighter.

For instance, bands like Cephalotripsy focus on making their breakdowns envelop the listener, like an all-encompassing sort of slow-paced slamming riff that feels noticeable heavier than their chugging riffs, whereas bands like Suicide Silence employ breakdowns that don't really separate themselves from the rest of the riffs in terms of brutality. I'm not a guitarist so I can't get into the technical terms, but I'm fairly certain something about palm-muting is relevant here...

The breakdowns themselves aren't entirely different - for the most part I'd say slam breakdowns are more... "chunky", whereas deathcore breakdowns tend to be sound a little lighter.

For instance, bands like Cephalotripsy focus on making their breakdowns envelop the listener, like an all-encompassing sort of slow-paced slamming riff that feels noticeable heavier than their chugging riffs, whereas bands like Suicide Silence employ breakdowns that don't really separate themselves from the rest of the riffs in terms of brutality. I'm not a guitarist so I can't get into the technical terms, but I'm fairly certain something about palm-muting is relevant here...

Well the article Void Eater linked in the other thread said both DC and Slam breakdowns are palm-muted but slams follow a chromatic scale while hardcore breakdowns (the same shit used in hardcore, thrash, metalcore and deathcore) are generally one-note chugging. I am not a guitarist myself though so I need to trust the article on that.

The article also says that slams are not real breakdowns but it is unclear to me why. If it is because they use a scale then it is frankly BS as breakdowns are pretty much anything that reduce music to a simpler form, like I said in that thread, as far as I am aware even the acoustic parts used in Opeth songs can be considered breakdowns as they reduce the music into a simpler acoustic meandering as a relief from the harsh parts' harshness.
But I think the article said that they can't be considered breakdowns because in most slam bands they aren't "breaking anything down" as most of the songs are comprised of slams. In that case I wonder why do you think that "deathcore bands use riffing between their breakdowns while slam bands use breakdowns between their riffs" when according to the article, SDM is pretty much only slams .

Written by Uldreth on 14.06.2012 at 17:02In that case I wonder why do you think that "deathcore bands use riffing between their breakdowns while slam bands use breakdowns between their riffs" when according to the article, SDM is pretty much only slams .

I would disagree with the article in that regard, being that most of the brutal/slam death I listen to focuses on riffs - even if they're of the straightforward, chugging nature. When I listen to some of the most direct form of slamming like Pathology, even they manage to incorporate breakdowns for support rather than employ them as the foundation. I don't spend a lot of time listening to deathcore to be honest, but the dozen or so bands I've heard seem to write music with the majority of their songs featuring breakdowns.

I'm even pretty shaky on breakdowns some of the time (outside of the blatant metalcore ones of course).

I actually initiated a topic about this the other day due to my own curiosity and inability to really discern much of a difference between the slams and breakdowns, especially on a technical level. Check it out if you'd like a more comprehensive explanation of the differences between breakdowns and slams; another user even posted a link to Metal Sucks where a writer for that site went into some rather funny detail about the differences between deathcore, slam and brutal death metal...

I don't spend a lot of time listening to deathcore to be honest, but the dozen or so bands I've heard seem to write music with the majority of their songs featuring breakdowns.

With all the recent discussions about deathcore, slam and bdm I decided to listen to some deathcore in more detail and did notice that they're songs do seem to definitely be geared towards building up to breakdowns instead of bdm and slam using them as support rather than a focal point...

I don't spend a lot of time listening to deathcore to be honest, but the dozen or so bands I've heard seem to write music with the majority of their songs featuring breakdowns.

With all the recent discussions about deathcore, slam and bdm I decided to listen to some deathcore in more detail and did notice that they're songs do seem to definitely be geared towards building up to breakdowns instead of bdm and slam using them as support rather than a focal point...

That is true but it still is a far cry from "riffs between breakdowns".
Unless.

Unless I misunderstood the point of the comment. I thought it refers to quantity, in that case I totally disagree. If it refers to the fact that the FOCUS is on breakdowns then yeah I guess it's true. But I don't see a problem with it as if there is a good and proper buildup to those breakdowns then they tend to sound tasty.

Unless I misunderstood the point of the comment. I thought it refers to quantity, in that case I totally disagree. If it refers to the fact that the FOCUS is on breakdowns then yeah I guess it's true. But I don't see a problem with it as if there is a good and proper buildup to those breakdowns then they tend to sound tasty.

I believe that was his point. And I agree with you, I also don't have a problem with it in the case of some deathcore bands because they do know how to build up nicely. Those deathcore albums I mentioned in one of my postings on the other thread are albums where I felt the bands built up properly and wrote some damn good deathcore, but the mass majority of the genre is still plagued with half rate hacks that can't write for shit (at least not in terms of what I look for in music)...

Edit: I take that back, I think he did mean quantity. Look at his response to Mr. Doctor in the Slams vs Breakdowns thread...

Written by Mr. Doctor on 10.06.2012 at 03:57QUICK! Someone use their mad photoshop skillz to make the monster wear a tutu and say "I'm so fabulous!" (you can just tell by it's face that it is happy)

Very artistic mood tonight.

/ninja'd

Arguably one of the most hilarious that ever happened to slam.. now besides the cover art i'd have to say this album has the full potential to be this years best and hopefully it will, as there are not many good slam album around these days. nice review btw